![]() ![]() Digital Filmīen said that in spite of the huge amounts of data, his digital workflow is solid and smooth. The individual lenses often display unusual characteristics. ![]() Concerned less with optical consistency across focal lengths, the DNA series is handpicked, tuned and re-housed to add character, emotion and a distinctive look to digital productions. The ARRI Prime DNA lenses use vintage glass from various sources and time periods to achieve a warmer, softer feeling in video. The uncompressed ARRIRAW files are written to Codex SXR Capture Drives, which were offloaded quickly, at full resolution, to the Codex Vault XL workstation by DIT Tom Gough. The ALEXA 65 uses an A3X CMOS sensor to capture at 6560x3102 resolution in Open Gate – an image roughly equivalent to the 5-perf 65mm film frame. He chose a 1.85:1 aspect ratio to better frame the Big Top and the elephant. This approach extended across the production, affecting choices in the design of the effects, lighting, sets and costumes.īen Davis shot 'Dumbo' mainly with the large format ARRI ALEXA 65 camera and ARRI Prime DNA lenses. ![]() 'Dumbo' from Camera to Post – ARRI, Codex and DaVinci Resolveĭirector Tim Burton, director of photography Ben Davis BSC, VFX supervisor Richard Stammers from MPC and DI Colourist Adam Glasman decided early on, before the shoot, that producing the story of 'Dumbo' as a live action movie would need a look that falls outside of precise photographic reproduction.īecause the film centres on a CG baby elephant with exaggerated eyes and facial expressions, its world could and should express his subjective reactions to what happens to him.
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